Parasite Eve Original Soundtrack :: Forum Review

	Album Title:	Parasite Eve Original Soundtrack
	Record Label:	DigiCube
	Catalog No.:	SSCX-10020
	Release Date:	May 21, 1998
	Purchase:	Buy at eBay

Overview

Written by Chris

Yoko Shimomura, once Square's most popular female composer, and now a blossoming freelancer, has created a collection of masterpiece scores in her time. The scores of Kingdom Hearts, Legend of Mana, Live A Live, Front Mission, and Super Mario RPG were all major achievements, yet none quite achieve what the Parasite Eve Original Soundtrack did. Combining a variety of genres together in a way that hadn't been heard on a Square soundtrack before, the way this soundtrack combined electronic and symphonic musical styles together was completely unprecedented for its time. Though Fukui's Einhänder, a techno soundtrack, had already been released and Mitsuda's and Uematsu's broadly orchestral styles were already extremely popular, Shimomura took one step further by assimilating such styles. This score, the accompaniment for Square's 'cinematic horror RPG', is possibly the most diverse album Square has ever released and it is difficult not to be in awe of Shimomura while listening to it.

Track-by-Track Reviews

Disc One

1) Primal Eyes (Written by Dave)

"Primal Eyes" is Shimomura's first track on this amazingly diverse album. This is the first of two tracks in the "introduction" section of the album, and it sets the scene well. A piano plays a slow conjunct accompaniment and this soon speeds up to give the track a bit of pace. With frequent inputs from an overdriven guitar, the track is given a vibrant and swift feel. Being quite dark and action-filled throughout, a wide range of technological devices are used to increase the aura of this piece; the most prominent of these is the use of a synthesiser that seems to echo a lot of the melodic lines. This is a great track to start off with, and it is a brief taster of what is to come. (10/10)

2) Waiting for Something to Awaken (Written by Chris)

"Waiting for Something to Awaken" is an elegant ambient theme that blends elements of the previous theme and the "Main Theme" into one (plus a few touches of "I Hear A Voice Asking" from Disc Two). It's introduced by the piano, which plays a light and intricate motif for most of the track, and gradually thickens with the subsequent addition of synth vocals, electronic effects, strings, and percussion, as it grows more mysterious and unusual. The piece is a very poignant affair that undoubtedly attaches itself to the listener's ear throughout, and this is all thanks to Yoko Shimomura's ability to skilfully write electro-acoustic music. Indeed, after "Primal Eyes," this track is not a let down and instead makes the introduction to the soundtrack even more inspired. (9/10)

3) Overture [from opera "La mia verita"] (Written by Chris)

The "Overture" is the start of the opera sequence in the game, being an appropriate orchestral build up for the next track, "Se il mio amore sta vincino." Though fully orchestral, the strings stand out most prominently throughout, playing a melancholic melody. There are lots of intricate decorations around these themes, mostly from the percussion parts; these parts feature foreboding chime motifs and some timpani rolls that make it more than clear that we are about to hear an epic piece of music. It's a fairly strong piece of music that serves its purpose well, though is less noteworthy than the tracks it is sandwiched between. (8/10)

4) Se il mio amore sta vincino [Vocalize] (Written by Chris)

Probably the most disappointing aspect of Parasite Eve is the sound programming, which does not use the PlayStation to its fullest capacity like it should. The horrific samples used for the synth vocals throughout this track make it difficult to appreciate the resounding beauty that truly lies beneath. It's barely an improvement on Celes' voice for Final Fantasy VI on the Super Nintendo and is certainly undermined by high quality synth is other high profile albums for the PlayStation, such as the Chrono Cross Original Soundtrack. Since Final Fantasy VII was able to feature a live chorus for "One Winged Angel" a year before, it is truly disappointing they were not able to use pre-recorded sound samples of a true opera singer here as well.

Nonetheless, the quality of the composition for Eve's Aria is absolutely impeccable. The way the first section of the piece gently transitions into a minor key is agonisingly beautiful and the passage that follows it is gorgeous, with its subtle harmonies and decorative vocal use. The end is just as beautiful, as it gradually transitions back to a major key to leave the theme on an uplifting note, restoring calm after the intense anguish before. Though short, the theme synchronises perfectly with the visuals and is a truly remarkable achievement. (9/10)

5) Memory I (Written by Totz)

This track does not make me happy. It's only 0:35 long, and it's only the same 8 and a half seconds motif repeated 4 times. While it conveys a certain sense of mystery and strangeness, its impact ends when you hear the same motif eleventy-billion times. (5/10)

6) Gloom and Doom (Written by Chris)

Yoko Shimomura is always suitably restrained with her use of ambient themes, being able to create fantastic atmospheric tracks, yet being restrained enough to place only a few of them on each album she creates. Though ambient tracks are interesting to an extent, overusage of them (e.g. in Naoshi Mizuta's Parasite Eve II Original Soundtrack) produces very boring results on a stand-alone basis. The subtle nuances and addition of subdued electronic effects make "Gloom and Doom" a reasonably musically interesting piece and the fact it is placed between two very dissimilar tracks ensures that it isn't necessarily a boring lull on the soundtrack, but an original and inspired stylistic contrast. Shimomura's magical formula works wonders again here. (8/10)

7) Theme of Mitochondria (Written by Dave)

This track is tense and unnerving. Repeated drum rhythms play to a rather temperamental melody that keeps switching through a wide variety of synth instruments. The use of prolonged notes and crescendos is very useful for the atmosphere of the track. Shimomura is doing the game justice with tracks like this, and even though it hardly develops, it is perfect for the situation! (8/10)

8) Sotto Voce (Written by Dave)

The track name literally means "soft voice" so this track is meant to be subtle and slight. A synthesised soprano voice sings a conjunct melody over a repeated piano motif. This is perhaps the downfall of this track, as the synth vocal really isn't mastered to the supremacy of the rest of the album. The track is subtle in every respect, but not a lot goes on with the melody and the accompaniment hardly goes anywhere. This is another effective track, on what would seem to be an increasingly impressive album, though it could have been better. (8/10)

9) Arise within You (Written by Z-Freak)

The main battle theme is a bit different from others of Square. Instead of being done in an orchestral fashion, it is mainly inspired by dance/trance. The electronic effects sort of hypnotize the player while the light beats create a little bit of tension at the same time. It's definitely in a class of its own, and only Shimomura has the versatility to come up with something this original. (10/10)

10) Main Theme [Piano Solo Version] (Written by Chris)

The game's main theme is probably the most melodically inspired tracked on the album. Its melodies are best summed up with three words: simple, gorgeous, and unusual. The way Shimomura manages to evoke so much out of so little shows just how great an artist she is. Unfortunately, while the simplicity of the melodies is more than acceptable, the harmonically uninspired nature of this arrangement is not. The piece opens monophonically, with just the melody line being heard, and the harmonies that are eventually consist merely of triadic arpeggios, alternative between three chords only. Though enjoyable to listen to, the more musically sophisticated versions of this theme on the second disc are much appetising overall. At least this theme sets the foundations for development of a beautiful melody later on. (7/10)

11) The Surface of the Water (Written by Dave)

This track is built up from a series of suspended chords and mysterious sound effects. It has an aura of tension and suspense about it, and all of this is created through a wide range of percussive instruments. When you first listen to this track it seems like a random collection of eerie sounds, however upon close listening you can really tell that has a pattern, which involves a simple motif passed between instruments. This track is creative and it really gives a feeling of some void that you can't pass. A very inspirational track that adds a bit of diversity to an album that is still young. (10/10)

12) Memories of "Aya and Eve" (Written by Chris)

This track is a very pleasant fusion of the piano lines from "Theme of Aya" together with Eve's synth vocals heard in the earlier operatic tracks. Though distinctly separate entities (meaning the distance between Aya and Eve is interpreted), the piano and vocal parts compliment each other perfectly and this creates a synergistic effect overall. It is excellent music for representing memories, being mysterious and unusual, and by showing only brief fragments of each theme before looping, Shimomura ensures that the memories seem faint and leaves room for further musical development for the rest of the score. (9/10)

13) Out of Phase (Written by Dave)

The track is built up around a series of percussive instruments; a rather primitive xylophone can be heard, and accompanying this is a disjointed drum. A synth instrument plays suspended chords in the background, and this gives the track an almost eerie feel. A piano has a small input with a series of three rising notes followed by a note that has dropped down from the last. This track is very interesting to listen to, and though it doesn't really have a melody as such, but the cross-rhythms and harmonic devices used are very interesting. Great track! (9/10)

14) Urban Noise (Written by Totz)

If I'm not mistaken, this piece is played in the map of NYC, when you have to choose the location you want to go. It's a very frantic track, ideal to represent the chaos that has taken over the city because of what happened at Carnegie Hall in the beginning of the game. It's a great composition, and one that must not be overlooked, despite its rather small part in the game. (9/10)

15) Mystery Noise (Written by Chris)

After a string of good tracks, Shimomura disappoints here. The reason for this is simple: the track loops after just 14 seconds and then drones on for over a minute longer, repeating the same thing over and over again. The most depressing thing about this track, however, is that it actually starts off with an enormous amount of potential. Being drum-heavy and having eerie sound effects in the background, it definitely works well as an ambient track. Indeed, it could have been so much more, but just ends up being an unnecessary filler track that blemishes a string of good themes. (4/10)

16) Influence of Deep (Written by Z-Freak)

This is one special battle theme, which occurs when you're fighting Eve on a runaway carriage. The synth voice is used to great effect here, as are the techno beats. Everything just moves on seamlessly, the synth voice is constantly backed up by the electronic melody. Even though that particular battle is very short, the theme is one to remember. This certainly displays Shimomura's versatility in a good way. (10/10)

17) Phrase of Aya (Written by Totz)

If there are still any non-believers out there that think Shimomura can't write amazingly simple and enjoyable solo piano pieces, this track is more than proof. Although "Theme of Aya" is a more complete composition, this one feels more mysterious. (8/10)

18) Phrase of Mitochondria (Written by Dave)

This is a short filler track for the album, and it is an arrangement of "Theme of Mitochondria." The instruments have been changed to a drum with another very low-toned instrument over the top. The track gives a feeling of action, but there really isn't a lot that I can say about it. It really is just a filler for the first disc. (7/10)

19) Theme of Aya (Written by Chris)

After hearing fragments of Aya's theme scattered in "Phrase of Aya" and "Memories of 'Aya and Eve'" (both of which were skilfully integrated in the game), the theme returns here in its finest form. Its melodies are practically identical to "Phrase of Aya," but are significantly 'pumped up' thanks to the faster tempo and the addition of countermelodies, drum beats, and various synth effects. The whole track is absolutely mesmerising to listen to, as Shimomura magically manages to use an extremely catchy piano melody in a way that is extremely unnerving. It is extremely atmospheric, but far too melodious to be considered a true ambient theme. It is a work of genius, no doubt, and is my favourite track on the album. (10/10)

20) Under the Progress (Written by Dave)

This track is very upbeat and enthusiastic. Snippets from "Theme of Aya" are played in the track, and the drum beat moves underneath this with the same old upbeat rhythm. The sound effects used at the start of the track give it a rather futuristic feel to it. Rises in volume and increase of timbre certainly give it a sense of thrill and action. Slight flavours of mystery are also added in the track through how the melody never seems to be complete. This is another good track on an already "spiffing" album. (9/10)

21) Plosive Attack (Written by Z-Freak)

The main boss theme is done with a bit of organ, some percussion instruments, and some strings. All of that is supported by a constant electronic beat/rhythm which helps in sustaining the tension in these nerve-racking battles (having played this game, I should know!). All in all, while the melody is fairly static, it effectively pumps up the player when facing these grotesque mutant variations of many, many creatures. (9/10)

22) Missing Perspective (Written by Dave)

This is a great track to listen to, and this is mainly due to its offbeat rhythm, and the perfect piano accompaniment. A wide range of percussive instruments are used in this track, which is quite respectable considering the limited synth. The best thing about this track is how a simple motif can be stretched over 3 minutes to give us the marvellous creation that it is. I couldn't help but feel like some of the melody was derived form "Theme of Aya." This is yet another wonderful track. (9/10)

23) Memory II (Written by Chris)

Like "Memories of 'Aya and Eve'," "Memory II" prominently uses "Theme of Aya" as the source of it melodies. There are all sorts of various eerie effects added around it, creating both a sense of mystery and a sense of reminiscence. Upon hearing the track, it is clear that there are obvious problems with it in a musical sense, but its use in the game is actually ideal. While underdeveloped, this is a deliberate, as developing it further would make the memories less vague and remove the sense of mystery associated with the track. Similarly, while the use of "Aya's Theme" might seem uninspired, its integration is appropriate for in-game purposes and the theme is used in an original way. Though certainly not a masterpiece, it serves it function very well. (7/10)

24) Force Trail (Written by Dave)

This is yet another effective track from Yoko Shimomura, and once again it is very synth orientated. "Theme of Aya" is once again the source of the melody used. The atmosphere builds up very well in this track, and this is mainly due to the bass line rather than that of the melody. The bass is built up of a lot of percussion and there is also a Gothic synth instrument and some very low piano chords. Each of these instruments add up to produce a feeling of fate, gloom, and doom. However, the melody conflicts this idea, as it is high-pitched and repetitive. The melody gives an impression of hope, and correct me if I'm wrong, but maybe a few glimpses of pride are thrown in. This track refelcts the horror of the game, but also the feel for a need to succeed. It therefore orientates around the feeling of darkness, yet the enchanting melody draws you on to help you in your quest to succeed. I personally like this track, and although it gets a bit repetitive, I feel it deserves a good mark. (8/10)

25) Phrase of Eve (Written by Chris)

This track is truly disgusting to listen to and it is truly difficult to survive listening to it all the way through. It consists of nothing other than over 3 minutes of Eve's synth voice. Now, if this were from a real vocalist, it may have been tolerable, but the way these synth vocals are of such poor quality and have so much vibrato in them means they penetrate your ear drums to the extent that they feel ready to explode. Eve's voice was just about tolerable in the other tracks, as Shimomura clearly had good ideas and just didn't have the technology to effectively implement them. In this track, however, there are no harmonies whatsoever and it is needlessly prolonged. Though I like most of Shimomura's compositions, I can't help but think she has a sadistic side when she's writes foul abominations like this. (1/10)

26) Memory III (Written by Dave)

This is one of those tracks where you just want to cry, and no, it isn't because it's so beautiful, but rather because the synth vocals are popping my ear drums as we speak. The track starts off with a rather effective piano solo, and you think that the track is going to be a good one. However, Shimomura then introduces a vocal line that is disjointed, high-pitched, and gruesome. This is, however, a horror RPG and it would certainly get anyone crying. The good thing is that you can't hear the track after about 10 seconds of the synth vocals, as by then any normal person would have ripped their ears off. Well I'm off to get a bandage, and I'm sure I've made Van Gogh proud in the art of ear detachment. No, but seriously, this track isn't as bad as the previous one, but what a bad way to end the disc! (2/10)

Disc Two

1) Matrix (Written by Totz)

After those two awful tracks, it's time for a good one! "Matrix" is an awesome synth-only piece that combines great percussion use with some kickass synth that serves as bass (something like that. Listen to this, you'll know what I mean). It might be a tad too repetitive, but only until 0:40, when this fantastic part kicks in: the percussion stops for a while, so there's only that synth bass thing plus something else playing chords. Then a slow percussion returns, only to lead us back to the beginning of "Matrix." (8/10)

2) The Omission of the World (Written by Dave)

Shimomura explores another musical path in the creation of this theme. A series of sound effects, and a rather quietly played organ lead us into this track. The same rhythm, accompaniment, and 'melodic line' (if you can call it that) repeats itself over and over getting louder each time, and then suddenly it drops to the background through a rather well-implemented drop in dynamic level, only to repeat itself further. This track is more effective than creative, and I have to admit that it bores after a while, as nothing really happens to it. I'm sure this track works well in gameplay, hence the score. (7/10)

3) Wheel of Fortune (Written by Totz)

Can't say I like this one. It's 1:10 of the same thing, with some minor variations in the background and, towards the end, in the melody. After 1:10, there's 25 seconds of almost the same thing once more. Meh. (5/10)

4) Kyrie (Written by Dave)

Unfortunately the synth vocals are with us once again, and Shimomura didn't learn from her mistakes at the end of the last disc. There is a suspended G on an organ in the background getting us ready to introduce the vocal line. Despite the synth, this is actually a really good track for the album. It develops slowly and the melody is great. (8/10)

5) Across the View (Written by Totz)

What an awesome beginning! We are introduced to the theme heard in "Primal Eyes," this time with some variations, with it mostly being transposed up. Even though this track doesn't stray far from what I mentioned (well, it is what I just mentioned), the fantastic percussion use makes it interesting, compensating for its lack of variety and length. (8/10)

6) Femmes Fatales (Written by Chris)

This theme is very much like the superb "Influence of Deep," heard in the first disc, in that it combines Eve's synth vocals with techno melodies and beats. Its got a more epic feel to it than its basis, however, with the electronic beats being less upbeat and more agitated. This is appropriate since it is used for the final battle with Eve in the game and it also ensures that the Eve's vocal theme is recapitulated in a powerful way. The way a piano solo is slickly integrated into the latter half of the track is a particularly strong addition. Everything fits together seamlessly and the atmosphere throughout is very intense. Indeed, so long as you can tolerate the fact the vocals are synthesized, this track will certainly be an enjoyable one. (10/10)

7) A Piece of Remain (Written by Chris)

Shimomura takes a minimalist approach with this theme by blending a simple piano motif with eerie sound effects and an ever-repeating tuned percussion ostinato. It's quite atmospheric, but doesn't develop well enough to have any profound effects. It's probably best considered to be an ambient filler track that fulfils in-game purpose, but does not succeed on a stand-alone basis. (6/10)

8) Musica Mundana (Written by Dave)

This is an extremely experimental track in which a piano plays a continual sequence at the depths of its range. At the beginning of the track there is a held 'cello note which seems to be continually sounded throughout. We have a few ambiguous melodies added above this and a piano motif is also featured. Male vocalists overlap this phrase to give it a somewhat spiritual feel in places. The transition from "A Piece of Remain" to this one is certainly surprising, and it adds something else different to the album. (9/10)

9) U.B. (Written by Chris)

"U.B." is one the crowning achievements of the soundtrack, in my eyes. It develops beautifully, progressing extremely well and not looping until well after the 4 minute mark, and also defines most of what this album is about. Beginning with some ominous pre-sampled chanting from a male choir, gradually elements familiar with the previous track become evident as the piece moves into a fast-paced electronica-oriented section. This builds up a huge amount of tension and also sounds quite energetic, really getting one's adrenaline building. The way the male choir fades in and out while all this is going on sounds very effective and adds a certain layer of coherency to the track. It isn't until the 2:30 mark that the piece really peaks, however, as the track reaches a harrowing section featuring prominent organ arpeggios and aggressive drum beats. Though the transition back to the chanting is abrupt and splits the track awkwardly into two uneven parts, this is the only major flaw of the track. Blending ambience, electronica, organ mastery, and male chanting into one track is certainly a hard thing to pull off, and Shimomura does this effortlessly, while ensuring that nearly everything fits together. (10/10)

10) Escape from U.B. (Written by Chris)

After the last track, this one is disappointing, as it is hideously underdeveloped, only consisting of a repeating one-bar motif. Though it creates agitation, something more was definitely needed here. The way it suddenly cuts off at the end is especially eerie. (4/10)

11) Main Theme (Written by Chris)

This theme is similar to the "Main Theme (Piano Version)" on Disc One, being centred around the same ethereal and somewhat melancholic piano melody. Though the harmonies are bland once more, with the left-hand playing simple arpeggio patterns, they are still functional and the addition of some faint minor chords from other instruments is effective. It is definitely the melody that gives this theme its colour, however, and its profound nature is well-summarised by the theme's final arrangement in the album, the breathtaking "Main Theme [Orchestral Version]," heard a little later on. (9/10)

12) Theme of Aya [Reprise] (Written by Dave)

A reprise is supposed to be a grand track which reflects the true passion behind a theme. This one falls short of the mark as the theme given in "Theme of Aya" is merely shortened and then repeated in this track. The theme is still magical, but it just seems a bit of a disappointment when the track title brings high hopes. There is no extra drama created in this track that had already been created in "Theme of Aya," and so that lets it down a lot. (6/10)

13) I Hear a Voice Asking Me to Awaken (Written by Chris)

This track is a sweet and fragmented melody being played on a music box. Though pleasant, it soon becomes repetitive and lacks any textural contrast. It also seems to be very similar to Yasunori Mitsuda's music box tracks, meaning it fails to be original. Regardless of the feeling of nostalgia created, it is otherwise hackneyed and boring. (6/10)

14) Somnia Memorias (Written by Dave)

This is a rather enchanting vocal melody, which starts off with jungle like sound effects. Added to this are some synthesiser chords which rise in volume and pitch. A drum beat enters the track, and along with this comes the voice of Shani Rigsbee, who sings mesmerising Spanish vocals. The track builds itself up well, and the overall effect is a feeling of success and hope. We return to the jungle sound effects near the end, and an amazing guitar solo line is heard. (9/10)

15) Consensus (Written by Chris)

"Consensus" is a 'pump it up' techno track that benefits from a funky beat and a hopeful melody. Like many similar tracks, sound effects are integrated nicely over the melody, adding a unique industrial style. It ends up being a very lively electronica mix that gives the subdued end of the soundtrack a little more grit. (8/10)

16) Someone calls me. Someone looks for me... (Written by Totz)

A rather simple piano passage and a female voice are what this track's all about. I know Shimomura is awesome at making simple piano pieces, but sometimes you want a little more, and that's what happened here. It could have benefitted the composition so much more to have something a little more deep as accompainiment. I've got no complaints about the female voice, because by now you are accustomed to the synth and it represents Eve's last breath nicely. (8/10)

17) Main Theme [Orchestral Version] (Written by Dave)

The piano plays a big part in this track, as it plays a solo introduction line for the first minute or so. This track rings out so much more than the piano version of the main theme, and this is mainly due to the vast difference in timbre. The musicality of the track is certainly increased, and the accompaniment is extremely effective. This is a great orchestration, and there is nothing that I can criticise about it really. This is a very fitting piece for the ending stages of an album. It is grand, nostalgic, and full of hope. The piano takes us out of the track with the use of a ritardando, which just leaves us reflecting upon the emotion built up prior to this. The simple melody in "Main Theme (Piano Version)" has certainly been pushed to their limits here, and it is definitely an improvement. (10/10)

18) Influence of Deep -CM Version- (Written by Chris)

This track is a version of "Influence of Deep" sung by a true vocalist, Judith Siirila, a successful opera and musical singer. Though the instrumentals are left unchanged, the change of voice makes this theme much more satisfying to listen to. Indeed, while the original "Influence of Deep" has its artist merits, like many themes on the soundtrack, it was made almost unlistenable by the poor sound quality. It just seems a pity sound engineers could not implement this one in the game. Indeed, when they could implement a full choir in "One Winged Angel" for Final Fantasy VII around the same time, I don't see how implementing these vocals would be a problem. (10/10)

19) Se il mio Amore sta Vincino -CM Version- (Written by Chris)

Like the previous track, this is a rendition of one of the game's most memorable themes using real vocals. This makes it even more poignant than the original and extremely effective. Indeed, it's a fantastic conclusion to the album. (10/10)

Summaries

Written by Totz

This soundtrack is a work of art. Shimomura wanted to create something unnatural, and she pulled it off successfully. I'm not a fan of electronica, but when Shimomura's involved, her deadly combination of techno beats and piano is just plain fantastic. And the fact that she uses such simple piano themes is astounding.

All in all, this soundtrack has Shimomura's magic touch all over it. Even if you're not a fan of electronic music, you can easily enjoy this album. There are a few bad tracks, and the voice synth is a little infuriating, but the great tracks far outweigh the bad ones. Definitely an album you can't pass up. (9/10)

Written by Dave

Despite the rather frightening end to the first disc, this album runs pretty smoothly. It is a somewhat experimental album, in the respect that Shimomura has discovered a path that no other game composer had taken before. She meshes a variety of unconventional instruments and timbres together to give us some original effects. The key word here is "variety," and this is exactly what the album gives us, with many types of electronica and ambient music being utilised. Ultimately, the album ends with a massive high, with the orchestrated version of the main theme and two CM Version tracks. It ends in style, and it leaves us with a massively high opinion of Shimomura, as the relatively few bad tracks are shadowed by the quality of the other latter tracks. This is a brave Original Soundtrack, and it isn't one to miss for those willing to experiment. (9/10)

Average of Summary Scores: 9/10